We Speak Music
Americana Singer-Songwriter Richard Daigle Releases New Single “Cajun Getaway”
A Tribute to Spontaneity, Memory, and Louisiana Roots
Americana artist and Louisiana native Richard Daigle is proud to release his latest single, “Cajun Getaway,” a heartfelt, roots-infused ode to spontaneous adventure and the culture that shaped him. The song was recently recognized as a semi-finalist in the prestigious International Songwriting Competition, affirming Daigle’s growing presence in the Americana songwriting landscape.
Rooted in Daigle’s Cajun heritage and inspired by childhood memories, “Cajun Getaway” captures the anticipation of a spontaneous road trip more than the destination itself. “I had the tune in mind before the lyrics,” says Daigle, “but as the writing process began, I found myself wanting to bottle that feeling of planning a last-minute escape — especially one steeped in the familiar joy of Louisiana’s rich culture.”
The track includes the evocative line:
“We’ll drive on down to the end of the world, we’ll know we’re there when we hit Grand Isle.”
For Daigle, Grand Isle isn’t just a geographic marker at the southern tip of Louisiana — it’s a touchstone from childhood, a memory of long drives to his uncle’s camp along a lonely two-lane road. “As a kid, it felt like we were driving to the edge of the earth,” he recalls.
“Cajun Getaway” joins Daigle’s earlier release “Cajun People” in celebrating Cajun culture, something that runs deep in his blood: both of his parents were Cajun, and their influence remains central to his music.
A retired writer/editor and communications specialist, Daigle is a self-described “late bloomer artist,” who released his debut CD in 2020. Now based in Chattanooga, TN, he performs across the Southeast, blending homespun stories, sly humor, and poignant reflections in a style reminiscent of John Prine, one of his greatest influences.
In fact, Daigle’s connection to Prine spans decades — from attending a packed bar show in 1977 to interviewing Prine in 1979 as a young reporter, and finally seeing him again on New Year’s Eve in 2016. That story inspired another of Daigle’s songs, “John Prine, A Friend of Mine,” which pays homage not just to Prine’s genius but to his humanity.
“Songwriting is how I process life,” Daigle shares. “I was blessed to be married for 34 years to Jan White Daigle, a beautiful soul who passed away in 2014. Since then, I’ve leaned on music — and the stories in it — to make sense of grief, joy, and everything in between.”
With “Cajun Getaway,” Daigle invites listeners on a musical road trip that’s as much about nostalgia and hope as it is about destination. It’s Americana at its most honest — unpolished, heartfelt, and deeply human.
Some artists write songs; Nia Perez writes confessions. Her debut EP, Things I Wish I Said, feels like stepping into a private emotional journal—one she has generously decided to share with the world. The Venezuelan singer-songwriter blends indie-pop warmth with the introspective quiet of bedroom pop, approaching heartbreak not as spectacle but as a lived, unfolding process. The EP’s framing—five songs as five letters—gives the project its emotional backbone.
“If you had asked me two years ago to share these personal letters with the world, I would have run the other way,” Nia shares. “But writing these songs has helped me finally say things I kept inside for too long. We’ve all got those unsent letters; maybe hearing mine will help others send theirs.”
“Shapeshifting” introduces the theme of identity as something fragile within love. Perez explores the subtle ways one can disappear to make space for someone else, singing with a softness that makes the realization even more devastating. “Not Her” then pulls us deeper, its portrait of betrayal laced with longing and painful clarity. It’s no surprise the song has become Perez’s breakout moment—it says exactly what so many listeners have felt and never voiced.
“Oh Sweet July” is the emotional centerpiece of the collection. Perez transports us directly to the moment of a birthday breakup in New York, writing it with the raw immediacy of a memory that hasn’t faded. Each repetition of its central question sounds like a wound reopening, but also like someone finally giving themselves permission to speak.
The final track, “Little Old Flame,” acts as both emotional release and narrative closure. Here, Perez stops asking what she did wrong and instead asks the other party to look at themselves. The EP feels like a healing journey traced in real time—tender, incisive, and deeply human. With Things I Wish I Said, Perez establishes herself as an artist who turns silence into story, and story into connection.
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